Metropolis 20150708

The Metropolis Guide to the Worlds Most Livable Cities:Why Toronto Ranks #1 on Our List

Koolhaas on OMAs Fondazione Prada

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ARCHITECTURE AND DESIGN AT ALL SCALESJuly/August 2015

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Koolhaas Talks Prada 66 Retirement Reboot 80

The Worlds Most Livable Cities 98

The architect speaks to Metropolis about the Fondazione Prada and rethinking the relationship between architecture and art.

Architect and urban studies expert Deane Simpson discusses aging in place and rethinking senior citizen communities.

Metropolis provides the ultimate guide to the best cities to live in.

Cloaked Cabin 88 Northern Exposure 96Architect Tom Kundig evokes the spirit of Washingtons San Juan Islands in a mechanized house that literally invites the outdoors in.

Olson Kundig Architects shows Metropolis its regional inspirations for the waterfront Pole Pass House.

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FEATURES

On the cover: Torontos Nathan Phillips Square and Old City Hall, shot by Aaron Wynia.

METROPOLIS JUL/AUG 20154

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CONTRIBUTORS 16

PRESIDENTS NOTE 18

PUBLISHERS NOTE 21

DIALOGUE 22

TRENDEveryday Artistry 54

EXPERT OPINIONKirt Martin of Landscape Forms on Outdoor Spaces 56

PRODUCTSPHEREContract Crossovers 130Open-Air Elegance 132

DEPARTMENTS

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REVIEWPariss Les Bains Boutique Hotel 136

Q&AKatie Swenson onAff ordable Housing 138

THINK TANKSpecial Report on Education Design 140

BEN KATCHORThe Wataloo Family 148

INDEX OF ADVERTISERS 146

SPECTRUM 32

IN PRODUCTIONEdie Chandelier: Shards and Feathers 46

PRODUCT SPACESBal Harbor Shops: The Art of Fashion 48

July/August 2015. METROPOLIS (ISSN 0279-4977) is published 11 times a year, monthly, except bimonthly for July/August. Volume 35, Number 1. Subscriptions: 11 issues for $32.95 U.S.A., $52.95 Canada, $69.95 airmail all other countries. Domestic single copies $9.95; back issues $14.95. Copyright 2015 by Bellerophon Publications Inc. All rights reserved. Printed in the U.S.A. Material in this publication may not be reproduced in any form without permission from the publisher. Metropolis will not be responsible for the return of any unsolicited manuscripts or photographs. Publishing and editorial office is at 61 W. 23rd St., New York, NY 10010. Telephone (212) 627-9977. Fax (212) 627-9988. Periodical postage is paid in New York, NY, and at additional mailing offices. Canada Post International Publications Mail Product (Canadian Distribution) Sales Agreement No. 0861642. Publications Mail Agreement No. 40028983. Return undeliverable Canadian addresses to circulation department or DPGM, 4960-2 Walker Road, Windsor, ON, N9A 6J3. Postmaster: Send address changes to Metropolis, P.O. Box 3106, Langhorne, PA 19047. Subscription department: (800) 344-3046.


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EVENTSMetropolis Think Tank goes to Boston and Houston. Susan S. Szenasy discusses healthy tech integration in the workplace with Humanscale in San Francisco.

EXCLUSIVESQ&As, videos, and other additional content from your favorite articles

DAILY CONTENTUpdates on the latest in architec-ture and design

IN APP STORESFind us in all app stores, including Apple, Google, and Amazon.

PRODUCTSPreview designs at GlassBuild America.

EDUCATION/CEURead your favorite Metropolis articles and take a short quiz.

For more about Les Bains, Pariss nightclub- turned- boutique hotel, turn to page 136.

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EDITORIALPUBLISHER AND EDITOR IN CHIEF

Susan S. [email protected]

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ART DIRECTORSAndrew LeClair Adam Lucas

PHOTO EDITORKelly Rakowski

Architect: Skidmore, Owings & MerrillStructural Engineer: WSP Cantor Seinuk

Photograph: Tex Jernigan

While the world watched, One World Trade Center grew in both height and symbolism, its 1,776-foot crystalline form bringing unmatched views back to Lower Manhattan. A redundant structural steel frame, the result of creative collaboration between Skidmore, Owings & Merrill and WSP Cantor Seinuk, ensures that its safety is as substantial as its stature.Read more about it in Metals in Construction online.

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WorldView

EDITORIAL INTERNEstefana Acosta de la Pea

ART INTERNSThomas Colligan Bo-Won Keum

CONTRIBUTING EDITORS

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Every day 300,000 subway riders stream through Manhattans Fulton Center, their underground trek now brightened by entertainment venues and daylight YLLJ[LKMYVTP[ZZR`SP[JHISLUL[V]LYOLHK(UPU[LNYH[LKartwork by James Carpenter Design Associates, Grimshaw Architects, and Arup[OPZTHY]LSVMJVSSHIVYH[PVUPZHUL^IYPNO[ZWV[ILULH[OJP[`Z[YLL[ZRead more about it in Metals in ConstructionVUSPUL

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CONTRIBUTORS

JENNILEE MARIGOMEN

The Vancouver-based photogra-pher is interested in investi-gating everyday phenomena, and was named one of Photo District Newss 30 New and Emerging Photographers to Watch this year. She is also the communications coordinator for Gallery 295, which provides facilities for photographic production. Last April, Marigomen flew out to Orcas Island to photograph the Pole Pass Cabin (p. 88). My favorite parts were the blurred lines between the indoors and outdoors and how the design made those lines beautiful and efficient all at the same time, she says. Turning the wheel crank was fun, too!

ANNIE REID

Reid is a journalist, copywriter, author, and unabashed Melbourne lover (p.118). For 14 years she has worked with clients in architecture, real estate, and sustainability something to do with a love of bricks and mortar, she saysand her first book, John Ileana: A Crazy Life (Wrightbooks, 2011), was about the Melbourne personality and founder of the Crazy John Mobile Empire. Reid recently launched her own consultancy, Atrium Media (atrium.media). My favorite neigh-borhood is East Melbourne, she says, Tree-lined streets, gen-teel parks, great eateriesall within a few minutes meander to the top of the city.

REBECCA GREENWALD

Ive had Colombia in the back of my mind for a while, Greenwald says. For so long, all I heard was a story of violence and corruption, but all of a sudden, it flipped to one of urban innovation. Her trip last May became the basis for her report on Medelln (p. 116). As long as mayoral administrations are committed to strategic bottom-up planning, the city will con-tinue to be a positive force, she says. The Austin-based writer has managed cross-country road trips for the design-and-travel startup Mosey, and is a communi-cations consultant for archi-tects, designers, and planners.

Metropolis Think Tank: a provocative series of conversations in 2015

THE HUMAN FACTOR: IN SEARCH OF PEOPLE/EARTH CENTERED DESIGN

Leading U.S. architecture and design firms engage with Susan S. Szenasy to challenge current design thinking and chart the way forward.

METROPOLIS

Metropolis Think Tank is sponsored by:

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The design icon USM Modular Furniture Haller is turning 50 time to look ahead and explore new perspectives. Watch a new generation of designers, artists, and architects from seven renowned schools all over the world as they rethink modularity and become a part of a visionary project.

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PRESIDENTS NOTEPush to Open

I confess I have had an obsession for fi ve years. Since my husbandBellerophon Publications founder and publisher Horace Havemeyer IIIbecame confi ned to a wheelchair, I have fi xated on exterior doors, as I seek out the most accessible routes into medical facilities. Mount Sinais Madison Avenue revolving door, New YorkPresbyterians main entrance, and the Hospital for Special Surgerys sliding doors are perfect. Dont try Mount Sinais Fifth Avenue main entrance if a west wind blows. New YorkPresbyterians dreary back door on East 70th Street, where wheelchair vans discharge, is almost impenetrable for both chair and aidethe push to open but-ton leads to two 90-degree turns in no space.

I am an 85-pound senior, and it takes all my strength to enter or leave a building when the doors are heavy and when an inside wind pocket increases the stress. So I love those places where that nice little silver rectangle says push to open for a power door.

Its not just the infi rm and the elderly: What about you, your family, and colleagues? People with kids and strollers; people carrying luggage? Wasnt the Americans with Disabilities Act (ADA) supposed to solve these problems?

Seeking answers, I turned to Jeff Rosser, vice president and account manager for Skanska USA Building, a leader in health-care facility construction.

Here is what he told me: The ADA was enacted in 1990 as civil rights legislation regulated by the U.S. Department of Justice. Its minimum requirements were updated in 2010 for businesses and nonprofi ts. To comply, businesses must

provide entrances that are accessible for people with disabilities.

New buildings are a perfect opportunity to build universal or inclusive design into the program from the beginning. The cost implications for incorporating ADA requirements have minimal impact, since its a matter of enhancing typical solutions so they can be used without the need for customization or additional adaptationhence universal, inclusive design.

But in existing buildings, the challenge is fi nding aff ordable solutions that go beyond the ADA and create a better experience for the vis-iting public. The cost for upgrades is greatly aff ected by the following factors: space and structural constraints, working off -hours to limit the impact on active spaces, modifi cations that disturb existing fi nishes and expose existing hazardous material such as lead paint and asbestos, and the need to update the building to current code requirements for life safety.

A key component to moving from basic ADA compliance toward universal design is getting accurate costs for the most benefi cial options early in the process. Owners can then compare that cost with the business value in making their buildings more accessible and more frequently visited.

So the bottom line is the bottom line! For green buildings, LEED certifi cation is a public-aff irming incentive. What life- and public-aff irming incentives can we come up with beyond the ADA that would appeal both to for-profi t landlords and to health and other nonprofit facilities, and attract donors? Eugenie Cowan Havemeyer


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Calgarys concerned citizens, artists, designers, and public offi cials collaborate to invite humane and environmentally sound ideas to fi x the citys Lost Spaces.

PUBLISHERS NOTE

The rapid growth of 20th-century cities left us with a baseline of solutions for global urbanization in this century. Densely planned neighborhoods linked by efficient rapid transit, wide sidewalks, street furniture and plantings, parks of varied sizes, and water featuresall of them are there for us to evolve, to connect with the people who live and work there and the environment that supports all life. Yet all this early growth also spawned mean streets, rusting bridges, crumbling roads, abandoned buildings, and left us with decimated city blocks, dangerous pollution, and spaces that seem untam-able and uninhabitable.

Enter Calgary. This Alberta city of skyscrapersfueled by the oil industry while nurturing its roots in farming cultureputs on a really big show every July. Cowtown, as this chunk of Western Canadas prairie is known, hosts the massive Calgary Stampede. Another show that should have an equally long-lasting and dramatic influence on city planning was organized by a group of concerned citizens, artists, designers, and public offi-cials. They came together this past spring for a public discussion about the ideas presented in the Lost Spaces competition.

My invitation to serve as a competition juror came from two energetic local organizationsthe Design Talks Institute (d.talks), an advocacy group for the built environment and WATERSHED+ of the citys Utilities & Environmental Protection Public Art Program. During the jury process, we were able to consult with public officials who enlightened us on bee keeping, indigenous plants, remnants of old rail lines that brought the original settlers to this far-West outpost, and other local knowl-edge and lore.

Judging from the competition entries, the idea of Lost Spaces hit home in cities everywhereentries came from places as far afield as Colombia, England, and Sweden.

Sterile traffic roundabouts, boring bus routes, and aban-doned rail beds came under scrutiny, among other Lost Spaces. Ideas to revitalize these and other tears in the urban-natural fabric focused on developing bee habitats, strategic plantings of flora native to the prairie, and a resilient food system.

As I left Calgary the next day, I glowed with the energy of the people I met, the smart ideas that will surely fuel their future plans, and an appreciation that cities in our digitally connected century have a lot more human resources than they had in our industrial, fragmented, and rationalized past. Susan S. Szenasy

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DESIGNING WITH SOCIAL IMPACT

Metropolis and the Association of Independent Colleges of Art and Design (AICAD) hosted an alumni event on June 11 at the penthouse of Troy Boston. The conversation explored social design, social innovation, design advocacy, and ethics. It brought together the voices of Autodesk Foundation president and CEO Lynelle Cameron, codirector of the Mayors Office of New Urban Mechanics Nigel Jacob, and executive director of MASS Design Group Michael Murphy. The event was sponsored by Autodesk Foundation.

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DIALOGUE

BREAKFAST WITH INTERIORS FROM SPAIN

On May 18, Metropolis and Interiors from Spain hosted a private presentation that took place at the IA Interior Architects New York studio. Publisher/editor in chief Susan S. Szenasy and senior editor Avinash Rajagopal moderated a roundtable conversation on the resurgence of Spanish design, with designers from IA providing information on how to best market to the American design community.

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AQUAFIL

On May 29, carpet fiber company Aquafil USA cel-ebrated the inauguration of its second North Georgia manufacturing facility and the expansion of its U.S. headquarters in Cartersville at the companys 16-year anniversary gala. The event was attended by gov-ernment officials, media representatives, and high-level executives from the carpet sector. Italian ambassador to the United States, Claudio Bisogniero, and Georgia secretary of state, Brian Kemp, addressed the audience on the importance of con-tinued economic growth, environmental stability, and strong international business relations.

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CLARIFICATION

CORRECTION

To clarify the caption for the above photo, which was shown in The Rise of the Robot Operator (April 2015, p. 56), the Courtyard at La Brea was designed by MUTLOW + TIGHE, a joint association of John V. Mutlow Architects and Patrick Tighe Architecture.

In Preview: NYCxDesign (May 2015, p. 172) the Franke Planar 8 Flex Semi-Professional kitchen faucet (above) was misidentified as the Franke Steel kitchen faucet.

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At All Scales

In the 1960s and 1970s, Sister Mary Corita Kent juxtaposed advertising and biblical messages in screen-printed art-works such as this one from 1967. Her work is the focus of an ongoing exhibition, Someday Is Now: The Art of Corita Kent (p. 32).CO

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Often compared to the work of Andy Warhol, Sister Mary Corita Kents silkscreens are bright, bold, and, most of all, uplifting. Her message rever-berated throughout the civil rights protests and antiwar rallies of the 1960s and 1970s, when she made the cover of Newsweek and the Saturday Evening Post.

Her name isnt as well remembered as Warhols, but a traveling exhibition, Someday Is Now: The Art of Corita Kent, is changing that. After stops at the Museum of Contemporary Art Cleveland in Ohio, the

Baker Museum at Artis-Naples in Florida, and the Andy Warhol Museum in Pittsburgh, this full-scale survey of the artists work makes its final run at the Pasadena Museum of California Art through October 11, exhibiting pieces from Kents career of more than 30 years. She saw [art] from a nuns perspective, says independent curator Michael Duncan, who co-curated the exhibition along with Ian Berry, director of the Tang Museum at Skidmore College, in collabora-tion with Corita Art Center in Los Angeles. She took a very

humanist approach to adver-tising and discovered her own spiritual messages in the slo-gans and logos that Madison Avenue had come up with.

More than 200 prints are on view, including one of her best-known: the large cursive G of General Mills that Kent set against a curvy, red-striped background, with the words The Big G Stands for Good-ness. The G is not referring to whats in the cereal bowl but to actual goodness or even God, Duncan says. Kent juxta-posed advertising logos in this way, with Bible verses, and

quotes from Albert Camus or even the Beatles.

After decades with only a cult following among contem-porary artists like Mike Kelley, Pae White, and Jim Hodges, Kents work is reemerging because of a renewed interest in political, community-based art-making, and social practice. People are wanting things that are more direct, that have more to do with their lives rather than just price tags associated with Jasper Johns or Jeff Koons, Duncan says. Kents work feeds into that perfectly.Carren Jao

EXHIBITIONCivil Rights Apostle

SPECTRUMAn essential survey of architecture and design today

Above: wet and wild, a 1967 silkscreen print on paper by Sister Mary Corita Kent (pictured right, with her other works, in 1964). The print is in the collection of the Corita Art Center at the Immaculate Heart High School, Los Angeles.

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From top to bottom: Cushions being sewn for the 2015 Ragdale Ring pavilion. When not in use as seats for the performance venue, the cushions can be stored on the stage. The pav-ilion was created by Allison Newmeyer and Stewart Hicks of Design with Company.

COMPETITIONPostmodern Proscenium

Tucked away on the sleepy Gilded Age campus of the Ragdale Foundation in Chicagos northern suburbs, the third annual Ragdale Ring pavilion beams with youthful allure. The temporary timber structure strikes a Pac-Manlike profile, framing a stage for summer performances by resi-dent artists, poets, and mu-sicians. Foam cushions shaped like misfit building blocks, feather-light and in clownish colors, are haphazardly scattered on the lawn in front.

For us, if children like it, its a measure of success, says Stewart Hicks, founder of Design with Company, who, with partner Allison Newmeyer, is responsible for the pavil-ions Postmodern design. Its features have their source in Ragdales history. Its propri-etor, Howard Van Doren Shaw, a prominent architect famous for turn-of-the-century man-sions in and around Chicago, erected the first Ragdale Ring in 1912 to stage his wifes plays. Since 2013, architects have competed to erect their own venues at the same spot.

Hicks and Newmeyer, this years winners, combed through Shaws portfolio, searching for motifs that lent themselves to creative appropriation. These elements are abstracted into the pillows the duo hand-sewed as part of their residency, and which add a participatory element at what the architects call Shaw Town. Weve been pretty ada-mant about saying, Theres no up or down, Newmeyer says of how visitors may use a cushion. Do people stand it up or lean on it? Zach Mortice

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From top to bottom: Adidas sneakerdesigned by Stan Smith in the 1980s; Puma X Undefeated Clyde Gametime Gold shoe from 2012; the Modell Waitzer shoe from Gebrdder Dassler Schuhfabrik, 1936.

Consider the simple sneaker, urges The Rise of Sneaker Culture, on view at the Brooklyn Museum through October 4. The show, which originated at Torontos Bata Shoe Museum, is the first to chart the sneakers history, from its origins in the 19th-century commercialization of latex rubber to its ubiquity today.

The exhibition features about 150 examples of historical and contemporary

footwear loaned from muse-ums, manufacturer archives, and the personal collections of esteemed sneakerheads. These high-tops, tennis shoes, and running sneakers speak to larger cultural develop-ments, including the advent of physical culture in the late 19th century, the emphasis on fitness in nationalistic ide-ologies of the 20th century, the infl uence of hip-hop, and cur-rents in mens fashion, which,

in recent decades, have seen the luxury sneaker become a status symbol.

Curator Elizabeth Semmelhack makes it clear that innovation in sneaker design has been pushing the boundaries since the 1830s. The exhibition and catalog recognize designers like Tinker Hatfield, Jr., who conceived of the versatile cross-trainer and designed Nikes first Air Max sneakers, and Paul

Litchfield, who developed Reeboks Pump pneumatic support system.

Unlike at apparel exhibi-tions featuring rarefi ed couture, most visitors here will readily recognize the Converse Chuck Taylors, Adidas Superstars, or Vans slip-ons. The Rise of Sneaker Culture is the rare exhibition that offers deep social and cultural insight into an object used by billions across the globe. Luke T. Baker

EXHIBITIONUnboxing the Sneaker

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Rand Hall, originally slated for demolition but preserved by OMAs design of Milstein Hall, will be the site of the Ho Fine Arts Library (left). Inside, 153,000 on-site circulating volumes will form the centerpiece of a dra-matic 42-foot-high reading room (above).

EDUCATIONSculptural Stacks

Cornell University seeks to encourage a delicate balance between books and technol-ogy, making the case that both are necessary in its new Ho Fine Arts Library. The proposed design by Cornell AAP alum Wolfgang Tschapeller com-bines a careful restoration of the brick exterior of Rand Hall with an innovative reordering of its upper stories.

The stacks containing the fine arts collectionbooks on subjects ranging from architecture to fiber sciencewill consist of four levels, undulating through Rand Halls upper two floors. Staircases, ramps, and catwalks wind between the shelves, letting light flow from above while replicating the labyrinthine feeling of traditional stacks, with glimpses of bodies mov-ing among the books and sha-dows and light, says Cornells director of communications, Aaron Goldweber. The sculp-tural mass of the stacks juts through the roof of the existing building, crowning it in a sil-very mass that will cast light across Cornells Arts Quad.

The library will also be a testing ground for new tech-nologies and ways of working. Students and instructors will be able to check out books to specially curated tables outfitted with sensors that recognize RFID tags in each volume. Bibliophiles need not worry, however. The university says it is staking out increas-ingly rare territory in defense of the physical artifact as a dur-able and irreplaceable academ-ic and creative resource in the visual arts. A.J.P. Artemel

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Twenty-five years after the Americans with Disabilities Act (ADA) was passed, bathroom products have become the perfect example of how acces-sible, user-centric design need not mean compromised aes-thetics. At New Yorks ICFF in May, Dornbracht showcased the CL.1 series, which is not

only ADA-compliant but goes beyond the letter of the law. A variety of spout heights and an especially gentle spray in the faucets make for an accessible and soothing experience, while the textured handlesavail-able in two relief patternslook good and provide useful tactile cues. Avinash Rajagopal

If done right, designs aimed at users with disabilities or lim-ited mobility can turn out to be providential for all of us.

The slanted front of the Libera wall-mounted vanity from Lacava was designed to provide maneuvering space that the ADA stipulates, but it is also a smart option for any bathroom with limited space. The finger pulls on the sliding

doors can be easily operated while passing by, and an LED strip under the front edge of the cabinet is operated by a push buttona useful feature for anyone stumbling into the bathroom at night.

Other features include two cubbies for storage, and 22 options for finishes ranging from Natural Maple to Gloss Black. A.R.

There are many things that could prove to be a poten-tial hazard in a wet shower, so the fact that Infinity Drains G Series strainer is held flush to the floor and firmly in place with corrosion-resistant nickel magnets is a detail that is invisible but significant.

Plus, it means that there are no screws to fiddle with when the drain needs to be in-stalled or opened up. The G Series comes in a set of four dec-orative patterns and is ideal for a center drain placement in commercial or residential applications. A.R.

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Brick (Phaidon, 2015) traces the history of brick architecture across style movements, fea-turing iconic buildings like the National Assembly Building in Dhaka, Bangladesh, designed by Louis I. Kahn.

The humble brick is back in demand in the U.K., driven by an increase in house-building and an endorsement from the London mayor, Boris Johnson. Such is the resurgence in brick architecture that there is talk these days of a new London vernacular style.

Before the 2008 financial crisis, U.K. cities were vic-tims of ambitious but some-times alarming attempts at regeneration, favoring modern materials, like glass

and steel, and colorful cladding. But Londons housing-design guide of 2010 promoted great background architecture made of durable materials that weather well. It encouraged architects to take cues from the capitals Georgian houses.

So now an industry that suffered during the recessionwith 30 or so brick-making facilities closing or being mothballedcan barely keep up. The number of houses being built in England is on the

increase, according to the Brick Development Association (BDA), with brick the most favored material. It seems likely that the target to start upwards of 200,000 new homes per year will remain, says Simon Hay, BDAs chief executive officer.

William Hall, author of the sumptuous and intelligent new book Brick (Phaidon, 2015), points out that all architec-tural styles are represented by buildings built in brick.

He cites William Morriss Red House, which was completed in 1860. Also in Brick are the 1960s Brutalist Leicester University Engineering Building by James Stirling and James Gowan; Caruso St. John Archi-tectss Postmodern Brick House of 2005; and Saw Swee Hocks Deconstructivist London School of Economics student union building from 2014. That, says Hall, is evidence of bricks versatility.Clare Dowdy

BOOKBritain Loves Bricks

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PRODUCT DESIGNFinnish Shade

Finnish design company Marimekko is famous for its bold prints and bright colors in everything from shift dresses to throw pillows to tableware. Now the 64-year-old company is launching its first line of eyewear, in collaboration with Mondottica, a Hong Kongbased eyewear company. We felt that eyewear is a natural addition to our accessories line and complements our ready-to-wear collections, capturing the essence of Marimekko, says project manager Pirkko Heikkil. It is the marriage of creativity and function. The

collection embraces the unique Marimekko style, with its splashes of color and distinctive shapes. The over-size Janette glasses have a black-and-white print, while the perfectly round Ella and masculine Vuokko both inte-grate a bright yellow into their frames. The brushed-wood effect on Eeva reflects the influence of nature that can always be found in the com-panys products.

The optical line is launch-ing in Finland this August, with a global launch at the end of the year. S.S.

CARSLegroom Luxe

Whenever it seems like there can be nothing new in car interiors, a company inevitably surprises you. Thats the case with Volvo Car Groups new concept, Lounge Console, which sets a whole new bar for lux-ury vehicles. The design team at the Sweden-based company decided to remove the front passenger seat to provide chauffeur-driven business peo-ple with the ultimate executive accessory: a comfortable place to stretch out, watch televi-sion, work on the computer, and store valuables.

Removing the passenger

seat enabled us to create an open space that dramatically changes the dynamics of the interior and led to a wealth of ideas and new possibilities, explains Thomas Ingenlath, senior vice president of design at Volvo Cars. A lot of people thought we were crazy, adds Tisha Johnson, one of the cars interior designers. But we wanted to take luxury to the next level. Of course, those of us who embody luxe life-styles where cars like this are necessary are few and far between. But we can dream, right? Shannon Sharpe

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01 The Empire chandelier uses the same internal frame but with the glass flat against the frame. The breakthrough with Edie was pushing the glass pieces away from the frame, so it became more disordered.

02 I realized I could make these shards and create planes that played with the light, making it bounce around.

03 The form was influenced by a birdthose sort of tail feathers they have. I started to realize the shards were like feathers when I started to layer them.

04 In the marble version (not shown here), the black marble is basically opaque, so youre just getting the light bouncing very softly inside and below. The white veins in the black marble do light up a little bit. And the white marble is much more translucent.

IN PRODUCTIONShards and FeathersMary Wallis fi rst joined the team at Lindsey Adelman Studios as an intern while she studied at Parsons The New School for Design in New York. After she graduated, Wallis decided to go it alone, opening her own studio. But Adelman, impressed with Walliss talent, approached her about a collaboration that resulted in the Empire chandelier. The Edie chandelier, which was fi rst released in 2012, evolved from Empires design. It was an aha moment, Wallis says of the realization that she could break the rules and push the glass shards away from the frame rather than using them as flat panels. The col-lection has grown since then, and two new versions of Edieceiling mounted and black or white marblewere shown at ICFF in May. Wallis spoke to Metropolis about experimentation, the play of light, and the tail feathers of birds.By Shannon Sharpe

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MARY WALLIS (Australia, 1981), right with Lindsey Adelman, has her own studio, and is also a senior designer at Lindsey Adelman Studios. Prior to getting a certificate in architecture and interior design at Parsons The New School for Design, she studied gen-etics at the University of Melbourne, the Australian National University, and the University of Cambridge, and design at Central Saint Martins College, London.

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PRODUCTSPACESThe Art of FashionThe Bal Harbour Shops Fashion Project exhibition examines the cultural value of couture. By Shannon Sharpe

Miami is synonymous with vibrant culture, cosmopolitan glamour, and forward-thinking fashion. So it makes sense that the citys luxury Bal Harbour Shops is the site of a new experimental space ex-clusively devoted to the culture and consumption of fashion. Conceived and developed by Cathy Leff, the former director of the Wolfsonian Museum, and curated by renowned exhibition-maker Judith Clark, the Fashion Project explores the ways we understand high fashion.

Launched in April, the six-part exhi-bition responds to the communitys desire

for a higher cultural profile. Bal Harbour Shops CEO, Matthew Whitman Lazenby, took note. He knew he wanted to do something at a high level, and asked us to come up with a concept, says Leff. After some careful consideration, Leff realized that there wasnt a space in Miami dedi-cated to fashion at a museum-quality level.

But, she reasoned, the shops arent a museum and shouldnt be treated as such. Leff sought out a curator who could strike the right balance, and Clarks name kept popping up. When I met her, I knew she was perfect intellectually

and personality-wise, she says. The shops themselves played an

important role in plotting out the direc-tion the duo set forward in the Fashion Project. Obviously Bal Harbour Shops sells exquisite fashion, says Clark. So the customers didnt need to be told what a beautiful gown looks like. Instead, the six separate exhibitions were divided into pairs that look at the evolution of fashion according to personal and histor-ical narratives. The first two shows, The Exhibition and Morphing, address process, an idea that Clark believes

Above: A view of Fashion Projects first two instal-lations at Bal Harbour Shops. The Exhibition looked at process and Morphing manipulated the items shown in the former. Far left: Day Dress by Judith Clark and Rosie Taylor-Davies, 2015. Left: Costume by Leon Bakst, 1912.

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has never been addressed in a curatorial manner. I wanted to embody the ques-tion of what if, she explains. What if Id made a different selection? What if I decided to style it this way? What if I decided to decorate it?

The Exhibition, which ran from April 10 through May 21, featured such items as a 1912 Ballets Russes costume and a 1999 futuristic remote-control dress by Hussein Chalayan. On May 28, Clark launched Morphing (through August 10), in which she manipulated these designs to illustrate her concept: I wanted to show that kind of indecision and restless-ness around the curatorial process.

Of the exhibitions to come, the next two will take a chronological look at the postwar history of fashion through 2015, while the third and final pair will present a projective vision of fashions future.

Clark and Leff have both seen dra-matic reactions from the public. From people becoming tearful because theyd never seen a Schiaparelli close up to peo-ple just asking genuine questions about everything from cultivation to dress his-tory, says Clark, its been really wonder-ful because its done what I wanted it to do. Its raised a series of questions. I hope very much that they linger in the room. M

PRODUCT SPACESTHE ART OF FASHION

Above: Cabinet 1The Curiosity Cabinet. Bottom, left: Cabinet 4The Surrealist Body, headdress by Jean Cocteau, c. 1938, cape by Elsa Schiaparelli, 19351938. Bottom,

middle: Cabinet 5Sculpture, Bird Dress by Felicity Brown, 2011. Bottom, right: Cabinet 6Technology, Remote-Control Dress by Hussein Chalayan, 1999.

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01 VOYAGE EN IKAT DESSERT PLATE from Herms, hermesusa.com 02 AREZZO UPHOLSTERY by Dorothy Cosonas for Knoll Luxe, knoll.com 03 ANNIVERSARY COLLECTION CRYSTAL WALLPAPER in indigo from Maya Romanoff, mayaromanoff.com 04 ANMONE RUG by Franois Dumas for La Chance, lachance.fr 05 STOCKHOLM AQUATIC VASEby Bernadotte & Kylberg for Stelton, stelton.com 06 GLIDER SOFA by Ron Arad for Moroso, moroso.it 07 SPIVKIRJA MUG from Marimekko, marimekko.com 08 LINE LANGUAGE by Suzanne Tick for Teknion Textiles, tekniontextiles.com 09 ALCHEMY SHEER from Carnegie, carnegiefabrics.com

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All of us treasure our time in outdoor spaces. So why do we devote so little of our attention to their design?

As a designer in the site-furniture industry, I am always curious about the value people place on the outdoors. I like to ask people I meet to describe a great city like New York, Chicago, or Paris and what they most remember about being there. Or I ask them, if they won $25,000 to spend on a dream vacation, where they would go and what they would do. Their fond memories of a celebrated city or an escape into the wild often have little in common, except for one thing: Their most memorable and meaningful experi-ences almost always revolve around the outdoors.

We have studies showing that people tend to be healthier and happier, and can enjoy longer lives, in areas where they have access to nature, including green urban spaces. Outdoor spaces are some of the least expensive to create and can pay some of the highest returns on investmentin terms of community life, health and wellness, and the generation of economic activity in surrounding areas. As more peoplefrom young professionals to retireesmove back into cities, green public spaces and vibrant streetscapes are often cited as key factors for attracting residents and businesses.

Despite this, we do not give outdoor spaces the same value and fi nancial support that we give to buildings and interiors. We calculate the square-foot dollar value of buildings and interiors but

dont do the same for a square foot outdoors. We have not made a strong business case for designed outdoor spaceswe can and should be making this case. I also believe that design and innovation in public and privately owned outdoor space is laggingand the fi rst step to address that challenge is to better leverage the skills and talents of landscape architects, the profession-als best prepared to design them.

This is a time in human history when land-scape architecture has something really important to say. We should listen. Landscape architects practice a discipline rooted in holistic thinking. They understand the natural environment, the built environment, and the interface between them. And they are ideally prepared to take leadership in shaping outdoor spaces and framing public awareness about them.

Recent high-profile projects such as the High Line and Millennium Park have achieved placemaking of the highest order, and the star landscape architects responsible for them have captured public attention. But there is a whole legion of talented, inspired landscape architects out there who should also be at the center of envisioning and designing outdoor space.

This is also a time when industry can play a constructive role. Those of us who provide the site elements that help shape and activate these spaces need to do our part, and Im excited about taking on that challenge, researching

EXPERT OPINIONKirt MartinThe vice president of design and marketing at Landscape Forms calls on the outdoor-furniture industry to build the collaborations that will shape the future of our cities.

JUL/AUG 201556 METROPOLIS

methods to make the case for the return on invest-ment for well-designed outdoor spaces mea-sured in terms of community, identity, well-being, environment, and dollars spent. I am focused on driving innovation with new types of scalable solutions that go beyond the standard litter bin, bike rack, and bench, to help people enjoy great outdoor experiences. The outdoors starts only a half-inch outside the door, so we need new ideas for spaces adjacent to buildings. We also need to integrate technology in public spaces, but in ways that respect the special qualities of the environment.

I am excited by the work and believe that, in collaboration with landscape architects and other design professionals, all of us in the site-furniture industry can elevate awareness and promote greater investment in outdoor spaces that create memory and meaning. We can make a real diff erence in the urban landscape that is our future.

Kirt Martin is the vice president of design and marketing at Landscape Forms, leading the companys creative teams for prod-uct development, marketing, and marketing communications. Martin is an award-winning industrial designer, and previously directed design activities at Turnstone, a division of Steelcase.

EXPERT OPINIONKIRT MARTIN

58 METROPOLIS JUL/AUG 2015

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All events are listed in local time. For more information visit www.metropolismag.com/events

See our editors live in dialogue this July / August

2015 HAYSTACK CONFERENCE/CRAFT THINKINGJuly 12July 16 How the maker movement in the digital age is changing our ideas about craft.Presentation, Susan S. Szenasy, Publisher/Editor in Chief

NY NOW PANEL DISCUSSIONAugust 17 Javits CenterSelling Sustainability by Promoting Authenticity in Product Design.Moderated by Susan S. Szenasy, Publisher/Editor in Chief

PANEL DISCUSSION, ACTIVE EVERYWHERE: HARNESSING TECHNOLOGY & DESIGN FOR A HEALTHIER WORKSPACE August 19Humanscale, 649 Front St #2, San FranciscoModerated by Susan S. Szenasy, Publisher/ Editor in Chief

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The Fondazione Prada in Milan is the apotheosis of OMAs long-term collaboration with the Italian fashion house. The architects rehabili-tated an old industrial complex for the pur-poses of Pradas arts foundation. Pictured: An elevated balcony of the Podium, one of three new structures built by OMA at the Fondazione.

In Milan, we speak with architect and OMA partner Rem Koolhaas about the mesmerizing cultural compound the fi rm designed for Prada. Halfway across the globe, in the chilly waters of the Pacifi c Northwest, we encounter an island cabin by Olson Kundig Architects. And fi nally, we come to our annual cities survey, in which we identify 21 of the worlds most livable metropoles.

In Depth

The Fondazione Prada in southern Milan houses the fashion brands namesake arts foundation, estab-lished by Miuccia Prada and Patrizio Bertelli more than two decades ago. Opened in May, the walled-in com-pound is a small city of culture, with a series of revitalized industrial buildings linked by de Chiricolike streets and piazzettas.

METROPOLIS66

When the Fondazione Prada opened its doors to a new permanent home in Milan dedicated to contemporary culture, it not only placed the Italian city fi rmly at the forefront of todays global art world, but also introduced an ambitious new way of thinking about the relationship between architecture and art.

The locationan original 1910 distillery in a distinctly gritty part of the citycomprised seven spaces including warehouses and three enormous brewing cisterns with a raw industrial quality that the architects, Dutch fi rm OMA, retained while adding three new buildings made of glass, white concrete, and aluminum foam.

One, the centrally located Podium, is intended for temporary shows, while anotherstill under constructionis a nine-story tower that will house the foundations archives, art installations, and a restaurant. The third, a theater with a mirrored facade, features folding walls that allow the building to open onto a court-yard. In total, the collection of buildings provides nearly 120,000 square feet of exhibition space, more than twice that of the new Whitney Museum of American Art.

Metropolis correspondent Catherine Shaw visited the site with Pritzker Prizewinning architect Rem Koolhaas to fi nd out more about the challenges of creating a new cultural paradigm.

KoolhaasTalks Prada

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Catherine Shaw: Youve talked about this project expanding the repertoire of spatial technologies. Can you explain what you mean by this?

Rem Koolhaas: For a couple of years now, I have been well, I dont know what the best word is, but it is somewhere between bored and irritated, by the current course of architecture forcing people to be extravagant even if they dont want or need that. I think there is a fatigue with original-ity now and an interest in the modesty of an artist. In this case, this was important for me as it allowed us to fi nd a new relationship with architec-ture. It was more interesting than saying Prada or We are interested in strange new materials.

I saw an opportunity to use preservation as an antidote to this, so I declared I would work on, investigate, and mobilize the potential of ren-ovation as a kind of a countermovement. We have done this for a couple of years now. When we worked on the Hermitage Museum in St. Petersburg, we analyzed everything that existed and made a commitment not to add anything new but to simply reinterpret some of the buildings from that point of view.

We discovered thatin terms of size, intim-acy, and also materialsexisting architecture has so many conditions that, even if we wanted to, we couldnt reproduce any more. It would be too expensive, and there are so many invisible rules now that didnt exist before.

CS But how is this new? Surely preservation has been part of the architects repertoire for some time now?

RK Architecture in the past 20 years has been focused far too much on the expression of indiv-idual architects. The new Fondazione is not a preservation project and not new architecture. It is about respect for what was here. We started by analyzing what exists. There were a number of conditions and needs that were missing, so we added those into the new architecture.

There are multiple levels to look into, and that is what we tried to do here; to mobilize the skill and the freedom and the steepness and the compression that is there and then add things that expand the repertoire so that we have a col-lection of spaces.

A lot of things here may look authentic, like the sequence of small rooms that become bigger in one of the galleries, but that was our interven-tion rather than a found situation, so we are also playing with the look of a found object. We actually intervened everywhere on that level.

We didnt work with contrast, but, on the contrary, we tried to create a situation where old and new can work very seamlessly together, and are sometimes actually merged together so that you cannot tell at any one moment whether you are in a new or an old situation. That was our ambition: to create a kind of seamlessness.

CS The Fondazione Prada is avast complex with ten very differ-ent buildings of varying scale, but the most visually striking is the gold building at the center. Where did the idea to cover it by hand in gold leaf come from?

RK It was actually a last-minute inspiration to fi nd a way to give value to a seemingly mundane and simple industrial element. But we discovered that gold is actually a cheap cladding material compared to traditional claddings like marble and even paint. What I love is the way it contaminates the walls around it. Milan is like a pancake with few highrise elements. The environment is so gray that it needed a little color.

CS Using industrial buildings as art galleries is a common prac-tice today, but you seem to have avoided slipping into the generic white-box art gallery mentality.

RK I fi nd it surprising that the enormous expan-sion of the art system has taken place in a re-duced number of typologies for arts display, but

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here there is less emphasis on hammering down a vision.

What is wonderful about this location is its industrial quality. I think what we have done is dif-ferent simply because it is a new real engagement with the space. We were really preparedand this may be one of the most important driv-ing forces with our work in generalto be highly alert to the development of clichs. The combina-tion of industrial space and art is a huge clich, so that was definitely the thing to beat here. By introducing so many spatial variables, the complexity of the architecture will promote an unstable, open programming where art and archi-tecture will benefi t from each others challenges.The Tower, for instance, exists simply because our interest here was to develop a repertoire and options for display with diff erent scales of interpretation. We wanted a real diversity of conditions and it felt important to have a vertical element for various reasons. Somehow, art feels diff erent on the ground than in the air, and what is unique is the varied effect on the artists content because of the diff erent levels. Each of the ten stories will have progressively taller fl oors.

CS What is it like working with a fashion brand like Prada?

RK An architect is nothing without somebody who wants something, and that makes architec-ture a strange profession because we are essen-tially passive until someone mobilizes our talents. This is what happened in this case with the founders of Prada.

After 15 years of collaboration, Prada is very confi dent about what we do, so we dont have to overcome the typical skepticism that exists be-tween the architect and first-time clients. We have to overcome other forms of skepticism, but not that one. Through Prada, we were in close dialogue with Italian culture, traditions, and ob-sessions, so it has enabled a deep engagement be-tween our cultures. What was implicit for me from the beginning was to discover the effi ciency of fashion. What I think is incredible is how fashion can, in eight hours, organize something sublime

when for us it takes eight years. The diff erence in speed is totally fascinating. And that is only one example of where the collaboration is deeply inspiring. Architecture has an ability to integrate everything that comes at it into a new whole or language. And fashion, to some extent, does the same thing, so, collectively, we have been able to respond critically to what developed in recent decades in terms of culture and techniques.

CS The Fondazione is intended to accommodate a wide variety of cultural events, including cinema. How did you incorporate this sort of flexibility into your design?

RK I dont know if you have seen our project called the Transformer. It was a temporary pavil-ion in Korea that we designed for Prada. It had to answer to diff erent functions, so what we did was draw ideal plans for each function, like an exhi-bition, cinema, or art space, and then put the floor plans together in a tetrahedron and wrapped it in the rubber they use to shield airplanes in the desert. The project worked by picking it up by a crane so that each of the ideal plans could be-come the ground. It could work in different ways, but each plan was the ideal plan for that particular function. So we were thinking about this here in Milan and we knew there was an interest in performance, which is why we designed the cinema so that the sides open. The plan of the fl oor extends so the courtyard becomes a stage. In that sense, those are transformations that work with existing conditions but can accommodate an enormous range of diff erent activities.

CS Your subtle visual blending of indoors and outdoors here is almost Japanese in style.

RK Of course we benefi t enormously from the experience of working in other countries with dif-ferent sensibilities, and Japan is perhaps the kind of culture that I most relate to and for which I have an enormous amount of respect. That is very deliberate. Here, we divided the site into

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covered and open-air parts. You will discover streets and plazas for public activities, and that gives the project a wonderful quality that is not only a museum or a place for art, but also a collection of public spaces. Every building is communicating with open space and open air.

CS Youve also introduced several new technologies, including the use of aluminum foam, which is usually used by the military, but which youve reworked as indoor and outdoor cladding of the Podium building. Where did this idea come from?

RK As you know, we have an architectural offi ce that is a kind of think tank. The only reason for having it is we felt that, in addition to needing to be a tool of our clients, we must also set our own agenda. In this case, it means we can basically explore issues before anyone asks about them, so we are prepared. We are currently doing that with the exploration of the countryside. I have a hunch that the countryside is changing faster than the city. We are gravitating to a ridiculous situation where half the world has to change dramatically and where the other half stagnates. That is why we felt we should engage it to see if, in a preserva-tions regime, we could actually gain something and kind of model it. This is what I like.

CS The lighting of the various exhibitions at the Fondazione Prada is exceptional. Why do gal-leries so often get such a basic requirement wrong?

RK What they almost always get wrong is that it is so blatant and so repetitive.

CS One of the three new buildings, the Tower, is still under con-struction. Can you tell us a lit-tle about what we can expect?

RK I see the Fondazione Prada as a campus;

a tool with a vast range of possibilities. The Tower is one such space.

CS You say you were given a lot of design freedom in the Fondazione Prada brief, so what was the biggest design constraint?

RK It was probably not to succumb to an overdose of freedom.

CS How do you respond to criti-cism directed at your projects?

RK I think we are living in an age where criticism is not particularly welcome, whether it is political criticism or corporate criticism. It has become a dirty word. For example, you can see the phobia of a bad review, how it causes hysteria and the immediate defensiveness that sets in. I can say that I am kind of really used to bad reviews, so I dont take them personally, unless they are intended to be personal. On the whole I am really open to criticism, simply because I am of a generation that doesnt have that kind of fear. M

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OMAs design converts a century-old distil-lery into a series of gallery spaces spread across seven restored structures and three new onesan exhibition pavilion, cinema, and a yet-to-be completed concrete-and-glass tower. Rem Koolhaas, OMA partner and lead on the project, describes the Fondazione as being part preserva-tion and part architec-ture, given the campuss hybrid building character.

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An architect is nothing without somebody who wants something, and that makes architecture a strange profession because we are essentially passive until someone mobilizes our talents. This is what happened in this case with the founders of Prada.

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The Fondazione encom-passes a veritable townscape consisting of warehouse hangars interwoven with the new buildings (opposite). The former are subtly spruced up, indicated by the linear orange mark-ings repeated on their ex-terior. Elevation changes in the ground variegate the pedestrians experience of the com-pound while demar-

cating the Fondaziones important nodes, such as the cinema cladin a mirrored veneer. Touches likes this lend the complex a haunting, almost Surrealist dim-ension. Right: OMAs approach to the exhi-bition pavilions is eclec-tic, though undeniably modern. (Note the Miesian detail of the vertical beam affixed to the build-ing envelope.)

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Architecture in the past 20 years has been focused far too much on the expression of individual architects. The new Fondazione is not a preservation project and not new architecture. It is about respect for what was here. THIS P

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The gilded exhibition hall is the central focal point of the Fondazione. Called the Haunted House, the structures blank utilitarian features are draped in gold leaf (opposite), an ostensibly spontaneous extrav-agance that Koolhaas

post-rationalizes on functionalist grounds. The building towers above the rest of the campuss open-air spaces and ware-houses, which all can be taken in from the Haunted Houses balconies (left).

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The combination of industrial space and art is a huge clich, so that was defi nitely the thing to beat here. By introducing so many spatial variables, the complexity of the architecture will promote an unstable, open programming where art and architecture will benefi t from each others challenges.

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Adjacent to the Haunted House is a new exhibi-tion structure dubbed the Podium. Clad in exqui-site aluminum foam, the building cantilevers toward the perimeter wall (right). Italian law requires new public buildings to be earth-quake-proof, an im-position that Koolhaas giddily interprets as the massive I-beam

undergirding the canti-levered volume. The beam marks a point of disjunction in the otherwise tight jigsaw-ensemble of buildings. The deadpan formal juxtaposition is vintage OMA, but the highly refined detailing, includ-ing strip LED lighting, smooth concrete surfaces, and the aluminum foam (opposite) are new.

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Architecture has an ability to integrate everything that comes at it into a new whole or language. And fashion, to some extent, does the same thing, so, collectively, we have been able to respond critically to what developed in recent decades in terms of culture and techniques. THIS P

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The Fondazione is the capstone of a 15-year collaboration between Prada and OMA, an achievement made all the more striking given the prolific nature of the relationship. But what sets the Fondazione apart is its tactile grasp of historyhistory of the formerly industrial site, of Pradas decades-long cultural sponsorship, and of OMAs own Oedipal struggle with Modernism. Left: Aluminum foam panels line the ceiling,

forming a grid punctu-ated by thin LED strips and narrow returns for lighting channels. Oppo-site: The Fondaziones inaugural exhibition, the Serial Classic, explores questions of authenticity and imitation in class-ical antiquity. The lifesize sculptures are mounted on an intricate floor-ing system designed for the exhibition and composed of travertine, brushed aluminum, and perspexall exposed along the edges.

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RetirementReboot

Designed by Studio Joost Grootens, Young-Old contains a number of analytical charts, illustrations, and maps, as well as urban texture studies by students at Bergen School of Architecture. This one analyzes the urban components of Youngtown, Arizona, which was founded in 1954 and became the first age-segregated retirement community.

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How does society provide for the needs of those who have retired and newly entered the ranks of the aged? Based on his book, Young-Old: Urban Utopias of an Aging Society, architect and urban studies expert Deane Simpson shares his critical perspectives on aging in place, the history of aging commun-ities, and the future of retirement.COU

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Young-Old: Urban Utopias of an Aging Society, Lars Mller Publishers, 2015, $50

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DEFINING THE YOUNG-OLDMy starting point came from two researchers, Bernice Neugarten and Peter Laslett, who fi rst characterized this age group with the idea of late freedomfrom the responsibility of adulthood in terms of work and the responsibility of making a family. They bifurcated old age, forming this group of young-old people who are also free from the physical and mental limitations of the fourth (and fi nal) age. It is a phase in life thats hard to defi ne. For us, its the post-retirement age group , but at each time in history it has been constituted by a diff erent cohort, who have experienced quite diff erent lives and cultural experiencessuch as the baby boomer generation that is distinguished from the silent generation, in the American con-text. Old people are changing all the time.

AGING IN PLACE VERSUS RETIREMENT COMMUNITIES

I want to introduce nuances into a debate that has become black and white. Aging in place is an emerging orthodoxy thats universally accepted and promoted. Retirement communitiesfrom the perspective of planners or architectsare seen as a negative situation.

I would characterize my own relationship to retirement communities as a deep ambivalence. These types of young-old urbanism are an increasing fragmentation of our society, and I think of them as four-layered dystopias. The fi rst layer would be the dystopia of segregation, which adds age to the existing forms of segregation based on income or race. The second is the dystopia of securitization, the third would be a dystopia of privatization, and the last one would be a dystopia of denial. Im deeply critical of these environments, but its also important to acknowledge the emancipatory aspect of these urban settings. For example, they were based on the utopia of a vacation that never ends, but they are also a new job market. People who retire to the Villages in Florida end up having a second career, in some cases out of economic necessity, but in most cases for social interaction and to occupy them-selves. Theres also a kind of liberation in examples like golf-cart infrastructure, which produces a pecu-liar intermediate between the automobile and the

wheelchair. Or on the hospital strip in the Villages, where the negative, daunting image of the hospital is turned into a kind of shopping exercise.

Im generally supportive of the concept of aging in place, but the danger is to wholly accept it in an uncritical way. The support for the idea is linked to societys recognition of peoples ownership of and attachment to a place, and their need for a famil-iar setting in relation to the challenges of aging. This is common sense. But there is a danger of over-romanticizing the concept of place. When the average American moves his or her household 11.7 times in a lifetime, we have to be slightly more critical about their attachment to place.

Also, some types of urban or spatial organ-izations are much more appropriate than others to support aging in place. For example, suburbia is more challenging to aging in place, particularly in the last years of life when one has lost the abil-ity to drive or the confi dence to do it anymore.

In any case, this relationship between aging in place and the retirement community is not an either/or condition. Aging in place often produces naturally occurring retirement communities. In Denmark, postwar suburbs are occupied by families that moved into them in the very beginning, and many of those people have aged there. Now those areas are completely dominated by 70-year-olds.

MARKETING TO THE YOUNG-OLDYou could say that Sun City, Arizona, marks the introduction of young-old urbanism as a lifestyle product. It had the clear strategy to shift away from selling housing to marketing a wider lifestyle, very specifi cally directed toward the needs and desires of this particular age group.

The notion of a lifestyle product has two aspects: spatial and temporal. The spatial compo-nent is the comprehensive environment for the consumption of leisureyoure talking about club-houses, golf courses, and commercial centers. The temporal aspect is the idea of designing pro-grams and activities to discipline ones time. When you bought into Sun City at the beginning, it was clear there was a time-based program of activities and club life that would eff ectively discipline your life and avoid any danger of boredom. This has

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Residents of the Villages in Florida use golf carts as a solution for urban mobility, and a new form of trans-portation infrastruc-ture has sprung up around them: A peculiar intermediate between the logic of the auto-mobile and the wheel-chair, Simpson says. Residents take great pride in customiz-ing their golf cartsthese examples were recorded in 2008.

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The Senior Recreational Vehicle Community (SRVC) in the United States has around two to three million members, who lead a nomadic lifestyle. These images of nature belie both the urban and networked nature of the SRVCmembers gather at camping sites and form RV clubs that are coordinated online. Calling these communi-ties Technological Arcadia, Simpson writes: Perhaps the strongest historical resonance exists between the SRVC and the projected spatial visions of the 1960s and 1970s archi-tectural avant-garde, such as Superstudio and Archigram.

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Retirement is being challenged at an economic and cultural levelis it viable to take people at a certain age out of produc-tivity and society in this way?

The contours of golf-course urbanization in Spains Costa del Sol, commonly referred to as Europes retirement home. The region, Simpson explains in his book, consists of three urban ecologiesthe existing historical towns, tourist resorts, and developments like the one above, referred to as urbanizaciones, which are dominated by foreign retirement migrants.

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been developed over the years into a more sophisti-cated lifestyle product in the case of the Villages.

ONLY FOR THE RICH?The book frames how the market responded to the emergence of this group of young-old in the second half of the 20th century and the begin-ning of this century. Many of the examples come across as addressing diff erent levels of affl uence. The earlier visions of Sun City, for example, were very much about an inexpensive retirement for those who were retiring only on Social Security benefits. But those developers quite quickly realized that the greater profi t margins were in developing for the affl uent.

The recreational vehicle (RV) community, on the other hand, is quite mixedmany of these people are not affl uent. People are traveling long distances, staying for several weeks in one loca-tion, and then going to another place where theyd stay with their children and grandchildren, driving around in simple and small RVs. Interest-ingly, in the Villages in Florida, the early areas were sectored for mobile homes or trailer homes.

RETIREES ON THE ROADIn the book, I write about the RV community in terms of what I call compensatory domesticity. According to Canadian anthropologists who spent a lot of time in this community, there are two to three million American retirees who give up their homes and live year-round in these vehicles.

Giving up ones home and being a kind of permanent nomad produces a kind of counter-reaction. Theres an exaggerated domesticity that takes place in the interior of the vehicles, but also in the way that the immediate sites are colo-nized around th

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